Cascade A&E | February 2021 | Volume 27 | Issue 2

CASCA DE F E B R U A R Y

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V O L U M E

DON’T FENCE ME IN BY JANICE RHODES

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I S S U E

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Every Child Matters Many Families have no support network

Kindred

Connections kindred-connections.org

Whether it’s helping connect families to resources in the community, sharing a cup of coffee, or providing a temporary home for kids while parents get back on their feet; Kindred Connections is here to keep children safe, keep families together, and to be a support in crisis.

Please consider being a volunteer short term shelter home.

Donations are always welcome. Be a part of the change you want to see!

We Are

Oregon’s Only Arts Magazine Since 1995 | February 2021

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February 2021 | www.CascadeAE.com

to volunteer or donate call 541.382.3537 www.hsco.org

Make your house a home. adopt today.

CONTENTS

Can You Resist This Face?

Humane society of central oregon

C ASC A D E February 2021

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Cover Story

Film & Theatre

Janice rhodes

Dawn Emerson’s Emerald Tide, 13” x 15”, mixed media on paper

stories of the stars mountainfilm on tour

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Central Oregon

First Friday Exhibits

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mt. bachelor murders pandemic portraits the last outlaw weathering time

Peter roussel helen bommarito miguel edwards dawn emerson franklin crossing field artist fellowship rebecca reed sentgeorge

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Sunriver

Artists' gallery sunriver sunriver exhibits

Music

Sisters

michael allen harrison sisters folk festival

Pam Beezley

Billye Turner Howard Schor

Producers

Pamela Hulse Andrews

Sunriver Music Festival

Jeff Martin

Tumalo Art Gallery Art Consultant

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Calendar

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Call To Art Workshops New Perspectives

sisters exhibits my own two hands

Editorial Advisory Board Susan Luckey Higdon

central oregon exhibits outside central oregon exhibits

Literature

Art

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Marcee Hillman Moeggenberg

B.E.A.T.

Lori Lubbesmeyer

Lubbesmeyer Studio & Gallery

Lisa Lubbesmeyer

Lubbesmeyer Studio & Gallery

Natalie A. NiemaN Ronni wilde David Hill

Founder President/CEO Editor/Production Director Production Artist/Design/ Online Communications assistant editor/feature writer Distribution

Cascade A&E is a publication of Cascade Publications Inc., locally owned and operated since 1994 and published in Bend, Oregon the Wednesday before First Friday every month. For editorial and advertising information call 541-388-5665.

Send calendar and press releases to ae@cascadeae.com or A&E 404 NE Norton Ave., Bend OR 97701.

Cascade A&E is available for free all over Central Oregon or $25 for a year subscription. Subscriptions outside Central Oregon are $30 a year. cascadeAE.com

Oregon’s Only Arts Magazine Since 1995 | February 2021

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C a s c a d e A & E M a g a z i n e P r e s e n t s C o v e r A r t i s t Ja n i c e R h o d e s

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n 2010, Janice Rhodes was invited by a friend to take a class at the Art Station in Bend. This was her introduction to a new medium, encaustics.

Back then, Janice — like many people — had not heard of encaustics, although it has been in existence for over two thousand years. The encaustic funeral masks found in Egyptian tombs, still in great condition today, to the contemporary paintings that are shown in galleries now, demonstrate that this medium has been around for centuries. Artists such as Jasper Johns and 4 February 2021 | www.CascadeAE.com

Diego Riviera are credited for bringing a resurgence of encaustic art into the 20th century.

Janice says that encaustic medium is a combination of pure beeswax, tree resin and pigment, made molten and applied to a surface and heated again.

This process can be manipulated in different ways, and with many layers.

Paintings become, because of the damar resin, vibrant and durable. Janice

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says that encaustics can be adapted to many styles of painting, but she prefers the challenge of painting realistically, with vivid colors and a lot of texture.

When she was in grade school, Janice won a 4H award at the county fair for a woodcut print. “At that age it meant the world to me,” Janice said. “It was a defining moment.

My goal from then on was to find ways to express myself artistically.

That framed woodcut print and the check I received is hanging in my studio today.”

Although raising a family and having a 30-year career kept her busy, Janice took classes from the California College of Arts and Craft in the Bay Area. In 2003, she and her husband moved to Bend, and she was ready to spend her time immersed in art. She began with life drawing classes at COCC to instructions in many mediums taught by internationally wellknown teachers from Mexico to Washington. Almost every day you will find her at her studio near the

Deschutes River, with a heat gun in one hand and a brush in the other, standing before a table ladened with containers of heated wax. Encaustics has won her over.

Janice has earned awards for her pastels as well as encaustics. Some of her paintings are on permanent display at The St. Charles Cancer Wing and Roberts Field Airport.

She has paintings in private collections all over the U.S. as well.

The Red Chair Gallery has shown her art since 2010, and she is one of the founding members. She is also a part of the High Desert Art League, whose 13-member group display their art in venues around Central Oregon. Her work was featured at the Oxford Hotel in December, as well as part of the group show at the Sage Gallery. For the months of February and March she will be featured at the Alexander. jdrhodesart.com

Janice Rhodes in her studio | Photo courtesy of Janice Rhodes

Oregon’s Only Arts Magazine Since 1995 | February 2021

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First Friday Exhibits Art in the Atrium, Franklin Crossing 550 NW Franklin St. Art in the Atrium, Franklin Crossing, invites the public to a complementary exhibition featuring paintings of 42 artists represented by Billye Turner, art consultant. The February 2021 presentation marks the conclusion of Turner’s 40some years as an art consultant and continues through February 28, 2021.

The exhibit hours in the Franklin Crossing atrium continue as 7am-7pm. First Friday, however, will not be presented in February due to the continuing social distancing commitment.

High Desert Museum 59800 S Hwy. 97 541-382-4754 • highdesertmuseum.org

New exhibit at the Museum, Dam It! Beavers and Us, will run thru October 3.

In the Pleistocene era, a mammal that was up to eight feet long and 220 pounds, roamed what is now the High Desert and beyond. Dam It! Beavers and Us Photo by Chase Dekker explores this important member of the order Rodentia and the interrelationship of people, beavers and the landscape.

Continuing at the High Desert Museum thru March 7 is Daredevils, celebrating daredevils that brought spectacle to the High Desert. Daredevils explores the meaning risk-taking plays in our lives, why daredevils capture our imaginations and the many reasons they have been drawn to High Desert landscapes to execute their feats.

Don’t forget, our outdoor spaces are open and daily programs have returned.

Take a walk up to the 1904 Miller Family Ranch and drop in on the Miller family, keeping the ranch cozy during the winter months. Open from Umpqua, photograph on metal by Dave Kamperman 11am-3pm.

Get beak-to-beak with a majestic raptor at the Bird of Prey Encounter in The exhibit includes work and also honors many of the recognized artists exhibited by Turner throughout her career. Artwork appearing in the current the Museum Meadow at 11am and 1pm. Discover how to identify these aerial exhibition features: Marlene Alexander, CJ Anderson, Sandy Brooke, Helen predators and how we can ensure their future in the High Desert.

Both programs are FREE with Museum admission and weather permitting.

Brown, Ann Bullwinkle, Paula Bullwinkle, Susan Busik, Emma Carpenter, Sue Carrington, Barbara Cella, Jessie Chandler, Patricia Clark, Marion Dansky, Joanne To ensure your room to roam, capacity is limited at the Museum. Purchase Donaca, Janice Druian, Jim Fister, Anne Gibson, Ted Gladu, Barbara Gonzalez, tickets at highdesertmuseum.org/tickets.

And if you prefer, you can tour our exhibits from the comfort of your home.

Marjorie Wood Hamlin, MaryLea Harris, Judy Hoiness, Sondra Holtzman, Bill Hoppe, David Kamperman, Mike Kelly, Randall Fyfe Leigh, Michelle Lindblom, highdesertmuseum.org/exhibitions.

Lloyd McMullen, Natalie Nieman, Vivian Olsen, Megan Phallon, Karen Ruane, Layor Art + Supply Vicki Shuck, Barbara Slater, Carol Sternkopf, Kelly Thiel, Sharon Tillinghast, 1000 NW Wall St., Ste. 110 Gary Vincent, David Wachs, MOsley WOtta (MOWO) and Beth Yoe. 541-322-0421 • layorart.com In addition to curating this and previous exhibitions, Turner assists in the Layor Art + Supply is excited selection of fine art, design of art placement, lighting and appraisal. Contact her at billyeturner@bendnet.com or 503-780-2828. She makes her home in Bend, and to be featuring the first show for Australian artist, Amber Turk. Turk, cordially invites the public to view the diverse and noteworthy art. who moved to Central Oregon in 2018, has been putting her talents Blue Spruce Pottery to work capturing and sharing the BLOOM - Mt. Jefferson | Photo courtesy of 20591 Dorchester E. Layor Art + Supply beauty of the majestic mountains 541-382-0197 • bluesprucepottery.com This family-owned business has been making handmade pottery in Bend since here in Central Oregon. Being raised in a surfing family in Australia, it wasn’t 1976. Call to arrange a time to come shop their large selection of mugs, bowls, until she moved to Bend that she witnessed real mountains which in her words casseroles, lamps and more. Shop online and have gifts shipped directly to your was, “mind-blowing.”

The passion she has for our natural wonders here shines through in each of her family and friends. You can also find Blue Spruce Pottery at Red Chair Gallery pieces. The show goes thru the month and can be viewed during Layor’s regular in downtown Bend.

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In support of state and federal guidelines for social distancing, most venues have attendance protocols in place, Please call or visit each venue website for updated information.

business hours: Monday thru Friday 10am-5pm, Saturday 11am-4pm and Sunday 12-4pm. *Masks Required.

Lubbesmeyer Studio & Gallery Old Mill District, second story loft 541-330-0840 • lubbesmeyer.com The Lubbesmeyer twins offer a range of work created in fiber and paint. Through the twins’ collaborative process, they distill literal imagery into vivid blocks of color and texture, creating an abstracted view of their surroundings. Call the studio for hours and appointments.

Yellow Fields, Fiber with Overstitching

Mockingbird Gallery 869 NW Wall St. 541-388-2107 • mockingbird-gallery.com Mockingbird is proud to have rehung the walls with the work of our very talented group of artists to give the gallery a very fresh and distinctive vibe. This show will be unveiled on Friday February 5, and the exhibit will run thru the month of February.

We are fortunate to have so many gifted artists participating in this month’s show. Our artists are inspired by nature, wildlife, people and places. Each artist will use this opportunity to share their unique approach and individual inspiration with the public.

Oxford Hotel 10 NW Minnesota Ave. 541-382-8436 Jacqueline Newbold is exhibiting her vibrant watercolor paintings at the Oxford Hotel during the month of February. She is known for her colorful paintings depicting dramatic skies, fields of vibrant red poppies and rows of lavender that lead to a charming cottage. Jacqueline finds inspiration for her color choices from nature’s beauty. Trained as a botanist, she enjoys bringing the outside world into her energetic paintings. Her paintings and nature journals have been featured in many magazines and books.

Peterson Contemporary Art 206 NW Oregon Ave., Ste. 1 541-633-7148 pcagallery.com Beginning Friday February 5, Peterson Contemporary Art is proud to unveil our three person winter exhibition. The new, bold and expressive paintings of well-known Idaho artist, Scott Switzer will be on display.

Robert Schlegel from Banks, Oregon has also put together an impressive group of 30 new works for this special show. Complementing the works of Scott and Robert will be the whimsical wood carvings of Portland artist Stan Peterson. Stan carves charming creatures from basswood, each piece is then hand-painted breathing life into each of his unique creations.

We are located on the corner of NW Oregon and Wall Street in the cozy basement space below Silverado Jewelry Store. This vibrant display of works will be featured throughout the month of February and we look forward to sharing it with you.

Flower Joy by Jacqueline Newbold

Red Chair Gallery 103 NW Oregon Ave. 541-306-317 redchairgallerybend.com In February, Red Chair Gallery showcases landscapes: the pastels of Lise Hoffman McCabe and the watercolors of Jacqueline Newbold. Also featured are the elegant pottery of Helen Bommarito, the Native Americaninspired jewelry of Helen Sanderson and the gorgeous woven scarves and cowls of Red C Stephanie Stanley.

Summe

CASCADE

New Exhibit/ First Friday Please send First Friday submissions no later than february 17 for the MARCH Issue to: AE@CascadeAE.com

Fine Art & Contemporary Craft

Featuring Works by

Local Artists and Quality Framing 834 NW BROOKS STREET • BEND 541-382-5884 • www.sageframing-gallery.com

“ The chief enemy of creativity is good sense.”

- Pablo Picasso 103 NW Oregon Avenue Bend, OR 97703 541.306.3176 www.redchairgallerybend.com

Helen Sanderson

Oregon’s Only Arts Magazine Since 1995 | February 2021

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First Friday Exhibits Tumalo Art Company Old Mill District 541-385-9144 • tumaloartco.com Tumalo Art Co. artists offer a group show, opening February 5, interpreting the theme Imagine. Subjects are as diverse as the artists’ imaginations, from figurative to landscape, both real and not, finding the story within the image.

Dee McBrien-Lee imagines the journeys of Edward Curtis. Sarah B Hansen wonders, “If you could receive a message from the crane, what would he say?”

Dorothy Freudenberg’s digital media piece, Elevator to the Sky, is the result of imagination having no limits while in creative mode. Adell Shetterly’s original print Enter, leaves it wide open to interpretation. Imagine the possibilities.

Tumalo Art Co. is an artist-run gallery in the heart of the Old Mill District.

Please come see the show during our regular hours. We are open seven days a week, offering a safe, open area to appreciate art, Monday-Saturday 10am-7pm; Sunday 11-am-6pm.

High Desert Drama, pastel by Marty Stewart

Sage Custom Framing & Gallery 834 NW Brooks St. 541-382-5884 • sageframing-gallery.com Featured show for February thru March: High Desert Visions — Group Show.

High Desert Visions features the work of a variety of local artists. These artists’ interpretations of the theme run from wide open spaces, to majestic forests, towering mountains and the living plants and creatures that inhabit this wondrous region we call home.

Show runs February 3 thru March 26, open Tuesday thru Friday, 10am-4pm and by appointment.

Scalehouse Gallery 550 NW Franklin Ave., Ste. 138 541-390-4025 • scalehouse.org Featuring Samuel Stubblefield, Uzbekistan, Muses, Space Travel and Sea Monsters.

Samuel is interested in shaping architecture, film, music, urbanism and digital tech to create a more interesting life for anyone that happens to come across his work. By encouraging abstract thinking and play within deep-practice teams, Sam has created art, architecture and situations for organizations like Amazon, Bill and Melinda Gates Foundation, Google, Lady Bug House, Madison Square Garden, Microsoft Research, Sears Tower Visitor Center and the London 2012 Summer Olympics. Exhibition runs thru March 27.

Scalehouse continues with hours and protocols: Wednesday-Saturdays, 1-6pm; ten visitors allowed in at a time, all visitors must wear masks and all visitors must keep six-foot distance.

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Message From a Crane, mixed media by Sarah B Hansen

In support of state and federal guidelines for social distancing, most venues have attendance protocols in place, Please call or visit each venue website for updated information.

The Alexander 1125 NE Watt Way 458-256-6854 • thealexanderbend.com High Desert Art League artist Janice Rhodes, who uses an ancient art form called encaustics to create her distinctive paintings that are created with a distinctive contemporary flair, will be showing during the months of February and March. See the cover story on pages 4-5 for more information on Janice.

The Commons Café & Taphouse 875 NW Brooks Street, Bend 541-323-3955 • thecommonsbend.com The Commons Café & Taphouse is hosting a group show by SageBrushers Art Society members. Come in for takeout, and enjoy a delightful mix of landscape, abstract, portrait and still life, in a variety of media. Showing thru February.

Painting by Janice Rhodes

117 Roosevelt Ave., Bend, OR

541-617-0900

Art Education For the Community

Wild Refrain, acrylic painting by Lee August

The Wooden Jewel 844 NW Bond St., Ste. 100 541-593-4151 • thewoodenjewel.com The Wooden Jewel invites Central Oregon to see new artist installments and designer jewelry.

Join our Member-Artist David Kinker for Online Classes Mondays, 9:30-10:30AM

www.highdesertartleague.com

barbara cella

High Desert Art League

“Mecca Morning”, painting by David Kinker

For more information or to join https://www.kinker.com/kinkerstudios-digital-classes Oregon’s Only Arts Magazine Since 1995 | February 2021

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a r t o r c r a f t ? # 2 F e at u r e d M a k e r : P e t e r R o u s s e l

by KENNETH MARUNOWSKI, Ph.D. — A&E Feature Writer

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n the January edition of Cascade A&E (view online at issuu.com/cascadeae/docs/a_e_ january_2021), I introduced a new series that explores the often fuzzy boundaries between arts and crafts through the lens of those whose creations blur the distinction between these categories.

Common to those interviewed for this series are the galleries in which their works are displayed: the artist cooperative, or artist co-op. In exchange for a reduced commission charge on works sold (say, 15 percent instead of the typical 50 percent fine art galleries command), artist co-op members pay a monthly fee (usually between $100 and $200) and work a designated number of shifts per month.

Frequently featured within the walls of a co-op style gallery are paintings, sculptures, ceramics, photography and jewelry, a fine, non-discriminatory blend of arts and crafts however defined.

For non-specialists, if asked what disciplines fall under the arts category, many first think of the visual arts: painting, drawing and sculpture. If pressed further, music and poetry may make the list. With respect to crafts, answers might include ceramics, glass blowing, fiber and textile arts. Objects created through these “craft” disciplines often have an associated utilitarian function that separates them from objects of pure aesthetic contemplation, for better or for worse. At the root of all the arts however conceived lies the notion of “making,” and this series is concerned with makers, their works, and their perspective of their practice and creations as either art or craft.

This month’s guest maker is Peter Roussel, a ceramic artist who creates dazzlingly beautiful pots and platters through a variety of alternative firing techniques. Ceramics is an ancient industry, reaching back thousands of years. “The oldest known ceramic artifact is dated as early as 28,000 BCE...,” says ceramics.org, “a statuette of a woman, named the Venus of Dolní Věstonice, from a small prehistoric settlement near Brno, in the Czech Republic.” Interesting to consider what function this statuette served: aesthetic contemplation

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perhaps associated with the notion of reverence, a utilitarian function possibly linked to the concept of fertility, a mix between the two, or an altogether foreign perspective that we simply cannot know?

“Starting approximately in 9,000 BCE,” the website continues, “clay-based ceramics became popular as containers for water and food, art objects, tiles and bricks, and their use spread from Asia to the Middle East and Europe,” a pivotal time where we note a multitude of functions attributed to such ceramics across a variety of locations. As ceramic pottery became increasingly adorned with painting, its status as a genuine piece of art was solidified, an observation echoed by Roussel in the interview below. (ceramics.org/about/what-are-engineeredceramics-and-glass/brief-history-of-ceramicsand-glass).

Copper Sulfate, Ferric Chloride, Horse Hair and Sugar

Blue / Turquoise Crawl Glaze

Me: How did you get started as a creative individual?

Peter: At a young age, around seven years old, I had rheumatic fever. Treatment then was complete bed rest, and I was down for two years from 19531955. I had a school-appointed tutor two days a week and an art tutor one day a week. I always looked forward to that one day filled with drawings, watercolors and clay. From that moment on, I have been active in the arts, and for the last few decades, my main medium has been clay.

Me: Describe your art or craft.

Peter: I find shaping a lump of clay by hand or throwing a form on the potter’s wheel immensely pleasurable. Particularly when throwing, I am totally focused, almost in a meditative state and at one with the clay, something like “the Zen of pottery.” Sometimes I have a shape in mind, and sometimes I just let the clay talk to me. I focus on shape and style, always exploring new possibilities.

I am not a utilitarian potter.

I enjoy the process of alternative firing techniques because the results I achieve are always unique.

Alternative firing is often referred to as raku, horse hair, sagger, slip resist, naked raku, smoked, fumed and pit-fired pottery. I like to think of my pots as blank canvases ready for surface treatments quite

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different from traditional glazing techniques. My pots are for decorative purposes and indoor use only; they are neither food safe nor water resistant.

Finished pieces are sealed with a bowling wax or polyurethane to protect the surface.

Me: Very interesting! When I think of raku, I think of traditional Japanese pottery used in tea ceremonies. As I’ve come to learn, however, there seems to be a distinction between “Eastern” and “Western,” or “American,” raku.

Western raku, as ceramicartsnetwork.org explains, involves “a process in which work is removed from the kiln at bright red heat and subjected to post-firing reduction (or smoking) by being placed in containers of combustible materials, which blackens raw clay and causes cracking in the glaze surface.” Such a process yields exciting and unpredictable results.

Me: Do you consider your work art or a craft?

Peter: For me, making a pot is a skilled craft while the finishing of my work, “glazing,” is an art. Most of my firing is done with horse hair, sugar, salt, ferric chloride and copper sulfate, or some combination of the above techniques. Such techniques, even with exactly the same clay and applications, will always generate one-of-a-kind pieces since the process cannot be readily controlled.

I often wrap my works in heavy aluminum foil and place them in the raku kiln, four to six pieces at a time. I do not simply fire them to a certain temperature. The trick is not how hot you fire the pieces; it’s the rate at which the temperature rises because the chemical molecules expand and interact differently depending on the length of time fired in accordance with the rate of temperature increase. I’ve been exploring these techniques for approximately twenty years, and some of the results still amaze me simply because they are so unique. I consider this phase of my work “art.”

Roussel’s Display at Artists’ Gallery Sunriver | Photo by Kenneth Marunowski

In some ways, I think that money may play a part in what one considers art or craft.

I consider artistic pieces basically as one-of-a-kind ceramics. Production potters of utilitarian work like the ubiquitous mug seem to be more craft-oriented because they are mass producing different shapes and using the same glazes. I personally do not care if I’m considered an artist or craftsperson. It’s the complete process from start

Me: How does your work address artistic concerns, like those that a painter or sculptor considers (form, composition, color, value, texture)?

Peter: In the early 1960’s when I started throwing pots, I would draw and paint on a white glaze surface with iron or cobalt oxides. I would paint figures, heads, horses, or just simple designs and then fire the pieces.

I’ve also painted with acrylics on white bisque ware. But that was years ago; I have a much different focus now. Clay in the wet throwing stages or leather-hard stages can be textured, shaped, and carved, which I do Ferric Chloride, Horse Hair Outdoor Firing Area | Photo by Platter: Copper Sulfate, Ferric occasionally while sticking to my alternative firing routine. Like a sculptor, and Sugar Kenneth Marunowski Chloride, Horse Hair and Sugar I consider the shape of the vessel, its form and balance. Like a painter, I approach my pieces ready to apply my technique of choice that I feel would to finish that motivates me. The frosting on the cake, so to speak, is when I see the best fit the form. emotional reaction and attachment a buyer makes with your creation! This emotional content supersedes labels such as art or craft and enters the unnameable.

Me: What is your opinion on the arts / crafts dyad?

Peter: First of all, I’d like to comment about people young and old who Me: Well said, Peter. Thank you! say they wish they had artistic talent. Just the act of creating anything, To view the incredible work of Peter Roussel, please visit Artists’ Gallery Sunriver whether art or craft, is good for the soul. Best not be so critical of yourself. (Sunriver), Tumalo Art Co. (Bend), Hood Avenue Art Gallery (Sisters) or Earthworks Just do whatever gives you pleasure in any media you choose. Then you Gallery (Yachats). You may also visit his website at potterybypeter.com. have created something, and the inherent pleasure is in the making. potterybypeter.com Oregon’s Only Arts Magazine Since 1995 | February 2021

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R e d C h a i r G a l l e r y P r e s e n t s A r t i s t H e l e n B o m m a r i t o

by JULIA KENNEDY COCHRAN — Red Chair Gallery

Celadon bowl by Helen Bommarito

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ate in 2020, potter Helen Bommarito was seeking an idea for a ceramic Christmas tree ornament that would represent the year.

She hit upon the perfect one: the Plague Doctor.

During the plagues of the Middle Ages and earlier, plague doctors were hired by towns to care for those suffering from the illness without charge. Usually, these were men with little or no medical training and so they mostly recorded deaths. They had their own PPE: a distinctive garb to protect themselves from the malady including a long black cloak and a black top hat; on their faces they wore a mask with round glass goggles and a long beaked nose that was filled with aromatic herbs like lavender, mint, cloves and myrrh to ward off the foul air that was thought to cause the illness.

Bommarito’s plague doctor figurines hanging on Red Chair Gallery’s tree sold out immediately to people who sought a remembrance of the pandemic year of 2020. “They sold faster than I could make them,” she laughs. In February, she is a showcase artist at the gallery, exhibiting more normal pottery work such as functional bowls and mugs and wall art.

Although she earned a degree in art from the University of Washington and spent two years

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February 2021 | www.CascadeAE.com

Plague Doctors by Helen Bommarito

studying ceramics and jewelry design at the University of Texas – Austin, Bommarito’s career was in music. She spent 20 years in Seattle managing and promoting Irish musicians and hosted a weekly radio show on Celtic music.

Bommarito moved to Bend in 2004, “To be a grandma,” she says. She found studio space and returned to making pottery. The studio space

was shared with other potters and they eventually founded the Clay Guild of the Cascades. Bommarito served as president of the group for five years and is still an active member.

While living in Seattle, she spent many hours at the Seattle Art Museum where she especially admired the Japanese art there. It has influenced her pottery because she often uses Asian style Shino and Celadon glazes. In the last couple of years, Bommarito experimented with making ceramic sculptures of women’s heads. They were each in the style of a famous artist, including Modigliani, Raphael and Goya. Lately, she has been working with different firing temperatures in her kilns to produce varying color effects with glazes.

Bommarito has taught ceramics at Central Oregon Community College for years but classes have been cancelled since last March when the pandemic began.

She also teaches at the Art Station, which is expected to resume classes this spring. In her spare time, she began making face masks in brightly patterned fabrics and has now sold hundreds of them. They are available at Red Chair Gallery. In 2121, she hopes pandemic-related items will be a thing of the past. redchairgallerybend.com

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Bend Artist Miguel Edwards’ Newest Sculpture Rises 20 feet Over Seattle Center

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end Artist Miguel Edwards previously appeared in local news when his sculpture, Hope Rising, served as the cauldron of fire for the 50th Special Olympics in 2018, and went on to light up Bend Winterfest 2019, for which he was the featured artist.

Recently, Miguel completed installation of his latest large public sculpture in the Seattle Center district of downtown Seattle.

The sculpture, titled El Sol: Elevate, is a striking, seven-foot sphere formed by curved layers of steel and glass.

The sphere rises 20 feet to overlook the courtyard at Center Steps, a new development across from the Seattle Ballet and near the Space Needle, and it’s visible from Mercer, Roy and 2nd streets.

El Sol: Elevate was inspired by Miguel’s very first public sculpture, a sphere titled El Sol: Elevate | Photos courtesy of Miguel Edwards El Sol. Miguel decided to circle back to this type of sphere because of a unique connection to both time and place.

The original, El Sol was unveiled in 2009 — another tumultuous time in the world. It was shown at Seattle’s Carkeek Park for the first annual heaven and earth exhibit by CoCA, (Center on Contemporary Art), and was followed

by El Sol: Shining Through, displayed in Bellevue in 2012.

“So, with Elevate, I came back to my beginnings not only because this is a time when we are again in crisis, but also because of this iconic area in Seattle — it’s only about a half-mile from the neighborhood and the studio where my career began. I wanted to create something that would lift the gaze of passers-by, inspire a moment of contemplation and hopefully elevate the outlook of a community I care about — one that has seen its share of challenges lately.”

Bend artist Greg Amanti assisted Miguel on El Sol: Elevate, and together they have invested around a thousand hours of work.

Miguel Edwards

“Inspiration and creativity are the antidote to the current trajectory of our society and environment,” says Miguel.

“Build the world that you want and deserve. Not just for yourself, but for your community.”

Miguel moved from Seattle to Bend 2018, seeking a larger space for his workshop and a location central to the cities he works with most. In Bend, he also found a more grounded quality of life and new inspirations for his work.

In 2019, Miguel collaborated with other artists on the interactive sculpture, Relativity Clock, installed at the Main Transit Hub in Redmond.

Originally from New Mexico, Miguel began his career in art as a photographer in Seattle. He captured the ‘90s grunge music scene for KEXP radio and Billboard Magazine, explored the Seattle art scene for City Arts magazine, and delved into many, varied projects in photography and film. His work is also commissioned by Microsoft, Boeing and other Fortune 500 companies.

Miguel collaborated with James Rupp on the Silver Design Award winning book, Art in Seattle’s Public Spaces, published in 2018.

The spark for Miguel’s work as a sculptor in steel and glass came in 2004, when he was commissioned to create a steel sphere for Burning Man. By 2009, that spark had grown to a fire that would shift the course of his career. Now Miguel works in both photography and sculpture, and the two art forms interplay in his work.

Miguel has become a recognized public artist and accomplished sculptor. His work is currently on display at the prestigious CODA gallery in Palm Springs, as well as other galleries around the nation, many public spaces and outside the private homes and businesses of people right here in Central Oregon. migueledwards.com Oregon’s Only Arts Magazine Since 1995 | February 2021

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Artists & Their Influences:

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s one embarks upon and pursues the artist’s path, a multitude of influences crosses it, from fellow creatives and teachers to travels both exotic and mundane as well as the many great masterworks that comprise the art historical canon. Encountering these influences, the emerging creator may admit or discard them as he or she sees fit, at least those that register on a conscious level (Conscious rather than subconscious influences drive the current content). The choice is essentially a matter of taste, one that accords with a particular disposition.

A college art education with its requisite art history courses aims to ensure the student is adequately versed in one’s discipline, recognizing and understanding masterworks and what specifically makes them so. These great artworks of both the near and distant past fulfill part of their purpose, namely education / instruction, by exerting their influence over the openminded learner seeking to find her personal means of expression. Through the general appeal of these chef d’oeuvres and the specific qualities admired in them, the searching artist extracts inspiration and emulates them through the lens of his or her own art spirit.

Rick Bartow’s Bear and Red Drum. Pastel, graphite on paper, 40”x26”, 2010 (private collection). Image courtesy of the Richard E. Bartow Trust and Froelick Gallery, Portland, Oregon

As the artist pursues the creative journey, past influences may appear irrelevant as new ones step in their stead. Those truly on a quest of discovery embrace the constancy of change as part and parcel of their practice. Each new work represents an opportunity to explore, for example, a novel color harmony, note sequence or technique of application, the idea for which may have derived from the art of another. Despite the romantic notion of the solitary creator, few artists today create in a vacuum, especially as various social media platforms allow for the ubiquitous dissemination of images. A painter myself, I can personally attest to Instagram’s appeal as I discovered and currently “follow” a group of Australian painters whose art has certainly affected my own. This example illustrates how contemporary artists share and discover through each other’s work, just as Matisse and Picasso influenced (to the point of rivalry, some argue) one another through their ever-changing, creative projects. In other instances, an artist may draw inspiration from the past, as van Gogh did from

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Millet, as de Kooning did from Soutine, or as most everyone who painted after the turn of the 20th century did from Cezanne.

This new series (one article every other month), Artists and Their Influences, explores the ways in which artistic masters and masterpieces shape the work of several Oregon artists, all of whom are quite masterful themselves. I’ve asked these Oregonian creatives to identify and describe one or two central influences on their work and provide images that illustrate this influence. For this article, I spoke with Dawn Emerson, an award-winning, mixedmedia artist who creates stunning representational imagery that maintains a focused dialogue with abstraction. Perhaps best known for her dynamic horses and ominous ravens, Emerson moves fluidly with any subject, her gestural marks and pronounced value structures epitomizing her style.

When asked about influences on her work, Dawn quickly noted several, including the pen and ink drawings of van Gogh, the found-object horse sculptures Dawn Emerson’ Badge of Honor, 12”x8”, mixed media on paper of Deborah Butterfield and the dramatic paintings of Tibor Nagy. But the two individuals she selected as most prominent, at least in terms of her current investigations, are Rick Bartow (1946-2016), “one of Oregon’s most important contemporary artists,” and Zeng Xiaojun, Chinese painter, teacher and scholar (Rick Bartow: Things You Know But Cannot Explain, p.6).

From Bartow, Emerson extracted much value not only from his artworks, especially his drawings rendered in pastel and graphite, but also from his work ethic. “There is so much to admire in Bartow’s work,” Dawn explains, “the coloration, the use of negative space, the marks, the ease with which he executed his monotypes, always the composition, as well as the story he conveys, the connection between his personal life and the way he used art to heal himself.”

She continues, “His work is unbelievably sensuous, incredibly dynamic and full of life; viewing it is like watching the process of transformation happen before me.” For those who know Bartow’s work, Emerson’s assessment of its

S t o r i e s f r o m O r e g o n C r e at i v e s F e at u r e d A r t i s t : D aw n E m e r s o n

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by KENNETH MARUNOWSKI, Ph.D. — A&E Feature Writer

Dawn Emerson’s Just Passing Through, 30”x48”, mixed media on Evolon

Zeng Xiaojun’s Landscape, Chinese ink on paper, 24”x48”

qualities are clearly spot on, and for those who know Emerson’s work, the connection with Bartow is an aptly vivid one. Whereas Bartow chose to explore the power and mystery of the crow, Emerson opted for the equally powerful and mysterious raven. Both artists, however, brilliantly merge representational and abstract qualities in their depiction of these and other subjects, leaving as much unstated as stated, a visually and psychologically compelling component of their artistry.

Bartow’s life was not an easy one. A Vietnam Veteran, multiple stroke survivor, recovering alcoholic and widower, Bartow, a member of the Mad River Band of Wiyot Indians, employed art, both painting and music, as a survival mechanism. His large-scale paintings, drawings, prints and sculptures have been widely collected and featured in more than one-hundred solo exhibitions at galleries and museums (froelickgallery.com/artists/26-rickbartow). “The man never stopped working,” Emerson exclaims. “He worked through everything by keeping himself busy and, although I thankfully don’t share such dark moments, his work and work ethic illustrate how healing art can be,” Dawn concludes. As a deep admirer of an artist so incredibly prolific and exploratory, it comes as no surprise that Emerson has exhibited at multiple galleries throughout the U.S., leads her own pastel workshops, authored a book printed in four languages and produced six instructional DVDs as well as a recent video featured on Vimeo titled “Breaking New Ground.”

A second major influence that Dawn Emerson cites as pivotal to her art is that of Zeng Xiaojun, an accomplished painter who is now a connoisseur and collector of historic Chinese furniture, artwork and antiquities. Dawn reports, “I met Xiaojun in Massachusetts when he was living with his wife, Nancy Berliner, in Boston. He was teaching an evening class in Chinese Brush Painting at this local community center in Brookline, getting paid next to nothing, and I was working as a book designer for the DC Heath Publishing Company just outside Boston. He is a tiny person, less than five feet tall, slight and soft spoken yet he worked on huge pieces of paper on a table, and his entire body would vibrate as he wielded his brush. I was dumbfounded.

I learned about painting rocks and trees from him. He told us (through his wife’s translation) and demonstrated that each mark in a painting had to be unique and a response to the energy of the subject. Every inch of his paintings are alive.”

Such vivacity and intentionality in mark-making is clearly evident in Emerson’s depictions of animals and landscapes, all of which reveal her affinity for the art of Chinese brush painting and its focus on the essential. “I have used sumi ink since I studied with a Japanese woman when I was twelve,” she explains, “and I’d spend hours trying to perfect my strokes. It wasn’t until my late twenties when I took the classes with Xiaojun, a true master, that I began to understand the passion and energy behind Chinese brush work, a mastery that comes from years of intense observation, practice and memory.” With miles of canvas behind her now and several key influences that have shaped her practice, Dawn Emerson stands out as one of Oregon’s finest artists whose work widely and deeply influences the art of others.

He Calls, 24”x12”, mixed media on claybord

by Dawn Emerson

To learn more about the art and instruction of Dawn Emerson, visit her website at dawnemerson.com. To view her art in person, visit Mockingbird Gallery in Bend.

Oregon’s Only Arts Magazine Since 1995 | February 2021

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Art in the Atrium — Franklin Crossing Fine Art Exhibition Featured Artists in Continuing Exhibit

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rt in the Atrium, Franklin Crossing, invites the public to a complementary exhibition featuring paintings of 42 artists represented by Billye Turner, Art Consultant. The February 2021 presentation marks the conclusion of Turner’s 40-some years as an art consultant and continues through February 28, 2021.

The exhibit hours in the Franklin Crossing atrium continue as 7am-7pm. First Friday, however, will not be presented in February due to the continuing social distancing commitment.

Umpqua, photograph on metal by Dave Kamperman

Prineville, photograph by Beth Yoe

The exhibit includes work and also honors many of the recognized artists exhibited by Turner throughout her career. Artwork appearing in the current exhibition features: Marlene Alexander, CJ Anderson, Sandy Brooke, Helen Brown, Ann Bullwinkle, Paula Bullwinkle, Susan Busik, Emma Carpenter, Sue Carrington, Barbara Cella, Jessie Chandler, Patricia Clark, Marion Dansky, Joanne Donaca, Janice Druian, Jim Fister, Anne Gibson, Ted Gladu, Barbara Gonzalez, Marjorie Wood Hamlin, MaryLea Harris, Judy Hoiness, Sondra Holtzman, Bill Hoppe, David Kamperman, Mike Kelly, Randall Fyfe Leigh, Michelle Lindblom, Lloyd McMullen, Natalie Nieman, Vivian Olsen, Megan Phallon, Karen Ruane, Vicki Shuck, Barbara Slater, Carol Sternkopf, Kelly Thiel, Sharon Tillinghast, Gary Vincent, David Wachs, MOsley WOtta (MOWO) and Beth Yoe.

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The featured artists, many with lifetimes studying and creating art, work in a variety of mediums: acrylic on cradled panel, acrylic on canvas board, acrylic and oil pastel (with other mediums) gouache and watercolor on paper, live edge oil and alder sculpture, oil on canvas, pencil on paper, photo collage on metal, photography, watercolor batik and other mixed mediums. The diversity of mediums reflects the considerable expertise of the participants.

The exhibition marks the final exhibit and conclusion of Turner’s career as an art consultant and agent for these and many other artists. She began her art management career in the mid 1970’s with the Lawrence Gallery at the Central Oregon Coast, later moving to Portland, Oregon as director of the Maveety Gallery. In the late 1990’s she moved to Central Oregon, reintroducing art at the Sunriver Resort and, later, to Franklin Crossing in Bend, continuing until the present.

For additional information, please contact her at billyeturner@bendnet.com or 503-780-2828. She makes her home in Bend, and cordially invites the public to view this diverse and noteworthy art.

Forest Guardian, photo collage on metal by Carol Sternkoph

Blue Note, acrylic on canvas by Mike Kelly

High Desert Bloom, watercolor batik by Helen Brown

Oregon’s Only Arts Magazine Since 1995 | February 2021

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Oregon Humanities Now Seeking Proposals for Fields Artist Fellowship

regon Humanities, in partnership with Oregon Community Foundation, is now accepting applications for the second round of the Fields Artist Fellowship program, offering two years of financial support to Oregon-based artists who are in a pivotal moment or inflection point in their careers.

Four artists will be awarded two-year fellowships to advance their artistic practice while developing creative and meaningful ways to address and respond to the opportunity gap in Oregon.

The first Fields Artist Fellowships were awarded in 2019 to Crystal Akins of Lincoln City, Mic Crenshaw of Portland, Ka’ila Farrell-Smith of Chiloquin and Joe Whittle of Enterprise.

Applications will be accepted from through February 15. More information on how to apply is available on the Oregon Humanities website (oregonhumanities. org). A selection committee will review applications and award the fellowships

by July 2021.

During their fellowship terms, Fields Artist Fellows will respond to and explore the opportunity gap in their region, participate in cohort gatherings and document their experiences and projects. Each fellow will receive $100,000 over the course of the two-year term. In addition, eight finalists will each receive a one-time award of $10,000.

The phrase “opportunity gap” refers to widening socioeconomic disparities across Oregon largely determined by the circumstances into which a child is born, such as family circumstances, neighborhoods, educational experiences and race and ethnicity.

Artists of all disciplines are encouraged to apply, including writers, filmmakers, visual artists, multimedia artists, culture bearers and performance artists. Eligibility requirements include the following:

• At least five years of professional practice in an artistic discipline or combination of disciplines.

• At least three years of residence in Oregon (non-continuous) and the intent to reside in Oregon for the majority of the fellowship term (September 1, 2021 to September 30, 2023).

• Demonstrable evidence of artistic practice that can engage with community groups and organizations and/or address community concerns.

Oregon Humanities will administer the program and convene gatherings for the fellows. All funding is provided by the Fred W. Fields Fund of Oregon Community Foundation.

Oregon Humanities connects people and communities through conversation, storytelling and participatory programs to inspire understanding and collaborative change. More information about our programs and publications — which include the Connect In Place, Consider This, Humanity in Perspective, Public Program Grants, Responsive Program Grants and Oregon Humanities magazine — can be found at oregonhumanities.org. Oregon Humanities is an independent, nonprofit affiliate of the National Endowment for the Humanities and a partner of the Oregon Cultural Trust.

OregonCommunityFoundation(OCF)putsdonatedmoneytoworkforOregonians.

ThankstothegenerosityofOregonians,OCFdistributesmorethan$100millioningrants and scholarships annually. For nearly 50 years, OCF grantmaking, research, advocacy and community-advised solutions have helped individuals, families, businesses and organizations create charitable funds to improve lives for all Oregonians. Impactful giving — time, talent and resources from many generous Oregonians — creates measurable change. oregonhumanities.org

Artists Find Alternative Ways to Share While Staying Safe

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Hold Fast by Rebecca Sentgeorge

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ebecca Reed Sentgeorge, a Redmond mixed media visual artist, was invited to give a presentation, titled From Inspiration To Process, on February 1 to the members of the Corvallis Art Guild.

Due to COVID-19 the presentation for their members will be made over Zoom. Rebecca’s presentation will focus on where creative ideas come from using examples from her own art and include images demonstrating the process she employs in much of her mixed media work.

More and more, artists are taking to online platforms as an alternative way to share while staying safe.

In April, Rebecca, along with other watercolor artists, will also be giving one-hour digital workshops at the Watercolor Society of Oregon’s Spring Convention. Last fall, the Watercolor Society of Oregon had to cancel their in-person convention due to COVID and recently made the decision to move to an online platform for their upcoming Spring Experimental Watercolor Convention.

Rebecca lived internationally for 11 years. Much of her work is influenced by her time overseas. A popular teacher for over 40 years, she has lead workshops in the United States, China, Thailand, Canada and Japan. Her work has been exhibited in Australia, China, Japan and the United States.

Rebecca is represented by the RiverSea Gallery in Astoria and is a member of the Watercolor Society of Oregon and the High Desert Art League. She was a Fulbright Memorial Fund Participant. Unfortunately, her 2020 Mixed Media workshop for Art in the Mountains last summer was cancelled due to COVID. highdesertartleague.com/rebecca-sentgeorge

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Get to Know Your Festival #3 Introducing Pianist Michael Allen Harrison This is the third in a series of previews of the upcoming 44th Season of the Sunriver Music Festival. You can view all stories online at: sunrivermusic.org.

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ith 2020 behind us and COVID vaccines rolling out, everyone is looking forward to the return of live music to Central Oregon.

Sunriver Music Festival’s Piano Showcase at the Tower (October 2021) will be a delightful celebration of live music and pianistic virtuosity. This year’s event is under the direction of Portland-based composer, songwriter and pianist Michael Allen Harrison.

When you review Michael’s biography, it is filled with the usual superlatives for someone who has created timeless music that has connected with thousands. But what is stunning is the depth and diversity of his three-decade career. Michael ‘s music ranges from movie scores to passionate arrangements for piano, orchestra and ballet. His musical styles include classical, fusion, smooth jazz, pop, New Age and contemporary adult.

As an iconic artist, Harrison is known for his magical piano solo performances and recordings. He has created over fifty albums released through MAH Records.

Also well-known for giving back to the community, he was honored with a star on the walk of fame in front of the Portland Performing Arts Center for his artistic and community contributions to his beloved city — Portland, Oregon.

This artist’s generosity to community began with launching the Snowman Foundation, a nonprofit which has raised over three million dollars for music education. The organization continues to make hundreds of instruments and scholarships available to gifted yet disadvantaged children in the Northwest.

Harrison created the renowned Ten Grands concert series as the main platform and fundraiser for the Snowman Foundation. In Ten Grands, Michael joins forces with nine other pianists performing together on ten pianos. Michael expanded this idea throughout the Pacific Northwest and created a 75-minute matinee show especially for local students. The three Ten Grands for Kids shows feature talented young artists performing alongside seasoned professionals. sunrivermusic.org Oregon’s Only Arts Magazine Since 1995 | February 2021

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S i s t e r s F o l k F es t i va l Announces Expanded Online Programming in 2021

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isters Folk Festival (SFF) is excited to announce a new session of winter programming to expand virtual education outreach programs for adults and youth during COVID-19. Registration is now open for educational offerings planned for this winter and spring, including multi-week songwriting and performance classes, instrumental music and engineering workshops and three separate Sisters Songworks offerings taught by both regional and nationally-recognized instructors and musicians.

In response to the global pandemic, SFF proactively redesigned many of their traditional offerings in 2020. The cultural nonprofit is now looking to build on the success of those re-imagined programs with a slate of online music education courses and workshops rolling out this winter.

Photo | Courtesy of Sisters Folk Festival

Dynamics in Performance is a four-week course taught by Beth Wood taking place on Thursday evenings from 7-8:30pm (Pacific Time) January 28 through February 18. The course is geared toward musicians of all levels who are interested in improving their performance skills, whether their intentions are playing open mics, improving their professional stagecraft, or simply improving the delivery of their songs. Cost is $100 for all four weeks.

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Writing the Songs Only You Can Write, also taught by Beth Wood, will delve into the creative elements of songwriting. A limited class size will allow for personalized learning, interaction between participants and a variety of energizing exercises to inspire maximum songwriting creativity.

The six-week course takes place from 7-8:30pm (Pacific Time) on Tuesday evenings from January 26-March 2.

Cost is $150 for all six weeks. Wood is a gifted singer-songwriter and winner of the Oregon Book Award for Poetry.

Pete Kartsounes, known to many as the hardest working musician in Central Oregon, will teach Fundamentals of Bluegrass Guitar. The class will dive into different techniques of playing bluegrass guitar as well as the etiquette of “the jam” and “the songs.” Participants will learn a variety of bluegrass-specific skills including flatpicking and crosspicking, in addition to learning a variety of traditional fiddle tunes to use as a basis for honing bluegrass guitar skills.

This class is geared towards advancedbeginner or solid intermediate guitar players of all genres, who are interested in learning or developing more with bluegrass guitar. Cost is $150 for all six weeks. The course takes place from 6:30-8pm (Pacific Time) on Monday evenings, and will run from January 25-March 1.

Kartsounes will also offer the workshop Bringing your Songs to Life on Saturday and Sunday February 27 and 28. During this two-day workshop, participants will learn the steps in the process from the first song idea to a recorded, mixed, mastered, packaged and produced product ready for distribution.

Whether your goals include creating a CD for friends and family, marketing

and selling recordings or inclusion on various streaming platforms, Pete will offer the know-how and skills to put your best musical foot forward in order to meet your goals. This workshop is geared toward songwriters and those interested in recording and distribution, whether for personal or professional use.

Songwriter and multi-instrumentalist Jenner Fox is offering a four-week Americana Song Share for high school students (grades 9-12) on Thursday evenings from 6:30-8pm, January 21 to February 11. Participants will listen together to their favorite songs and talk about what makes them so lovable, then make up their own songs in a supportive environment. All musical styles and ability levels are welcome and there will be no homework as the writing will be done as a group. Class size is limited to 12 students and cost is $50, with scholarship support available through SFF. When traditional courses in songwriting needed to switch to a virtual format, Beth Wood designed and implemented a successful three-day songwriting workshop in October 2020.

This workshop proved to be the catalyst for developing Studio 111 at the Sisters Artworks building from which Wood will host and offer three new Songworks weekends this winter and early spring — one each in February, March and April — with exceptional instructors.

Sisters Songworks is an intimate and intensive virtual writing retreat celebrating and exploring the art of songwriting in community. The weekend workshops will bring in noted songwriters and poets, facilitated by Beth Wood, to delve into the magic of songwriting.

Sisters Songworks is an opportunity to learn from professional singersongwriters, connect with others who share a love of songwriting and poetry and share your work in a nonperformance focused, supportive environment. Cost is $175 per person and class size is limited: • February 5-7 — North Carolina Songwriter Jonathan Byrd and the SFF veteran teaching artist Ellis, with a masterclass offered by award-winning songwriter Beth Nielsen Chapman.

• March 5-7 — Sisters Folk Festival longtime friend Johnsmith and acclaimed songwriter Susan Gibson will serve as instructors with a masterclass session with multiinstrumentalist and singer-songwriter Susan Werner.

• April 9-11 — Tom Prasada-Rao plus one more instructor (TBA), will serve as the core instructors, with Martyn Joseph teaching a masterclass from Wales in the UK. Songwriter, poet and instructor Beth Wood says, “I cannot overstate my excitement about our early 2021 virtual offerings. I was so amazed, sparked and comforted by our virtual classes and retreats in 2020. Those precious things that music-lovers and songwriters and artists lost in 2020: connection, community, learning from and inspiring each other... we found through our virtual offerings. Songs may sometimes be born in solitude, but they can’t live and thrive there. They need to be heard, to be shared with others in order to grow into their full power and purpose.

It’s amazing how effectively we can do that virtually. I believe in our model and our team, and I can’t wait to do more!”

For registration and additional information, visit sistersfolkfestival.org

Oregon’s Only Arts Magazine Since 1995 | February 2021

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STORIES OF T H E S TA R S R O N P U G H of S unr ive r Stars C o m m u n i t y T h e at r e

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on has been a “theatre junkie” since going to high school in Lakeview, Oregon, where he grew up. In school, he tried sports — that didn’t work. He tried band — that didn’t work. He tried being cool — he says that DEFINITELY didn’t work! Then he auditioned for a play. That’s where he found his niche. He realized he could finally be ALL those other personas, and loved it!

“I love acting,” Ron explained. “Unlike real life, you get to keep practicing over and over, until you get it right! Or at least, until you get it the way you want it.”

Ron continued his love of theatre in college, when he attended Southern Oregon College in Ashland (now Southern Oregon University). That’s where he became more involved in the technical aspects of theatre production.

One of his classes included the opportunity to volunteer at The Shakespeare Theatre, located in Ashland.

After graduating from college with a degree in Criminal Justice, Ron launched a 39-year career with the U.S. Forest Service as a criminal investigator.

“That job consumed most of my time,” Ron said, but he still found time for theatre. From 1986 to 1991, Ron was very active at then Community Theater of the Cascades, now Cascade Theatrical Company (CTC). He was onstage in five plays there, and served off-stage (set construction, light/sound booth, props, etc.) for dozens of others. He also served as an assistant director and on their Board of Governors for four years.

One of Ron’s favorite theatre experiences was playing the role of, Wally, in

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CTC’s production of Angry Housewives, in 1988. Wally’s character was a fairly simple minded, clumsy nerd, who’s only claim to fame was catching a fourfoot fish in a derby that netted him a $1,000,000. In that play, Wally sings and tap dances. Ron does neither. “That was by far my biggest theatrical challenge,” Ron added. “Fortunately, it was a comedy and I was supposed to make a fool of myself. I think maybe I was type cast. At the cast party, after we closed, the cast collectively presented me with a pair of dancing shoes. Both were for the left foot.”

Ron served 20 of that 39-year career in Central Oregon. He oversaw the Central Oregon Arson Task Force from 1987 until he moved in 2003. “One of my proudest career accomplishments is knowing that there are a lot of trees still standing out there, that we saved from the hands of arsonists,” said Ron. “I chose my career with the Forest Service because I absolutely love the outdoors and all it has to offer.”

Ron left Central Oregon in 2003 and moved to the Portland area, where he was promoted into a management position. He served as the Assistant Special Agent in Charge for the Forest Service’s Oregon and Washington Region. In that capacity, he supervised eight special agents scattered around those two states.

In 2006, Ron transferred to Vallejo, California, where he served as Special Agent in Charge, for California, Hawaii and Guam. That position supervised nearly 200 law enforcement officers and special agents in California. “Until I worked there, I didn’t realize that 18 percent of California is National Forest

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Images | Courtesy of Ron Pugh

land.” Ron said the two years he worked there were like living in a blizzard, hurricane, a forest fire and earthquake, all at the same time. “Actually, all those things did occur while I was there,” he added. “Best job of my career.”

Ron explains that he used his theatre experience as a form of personal therapy. As a federal agent, his job was often very serious and filled with many of the negative aspects of people and life. “When I’m on stage, everything is OK, and the good guy always wins.”

Ron retired from the Forest Service in 2009. He then fulfilled a lifelong dream of building his own house on a river. He now lives with his two little dogs, in that house on the Little Deschutes River, about six miles south of Sunriver.

Once that home was built, Ron started a part time private investigator business, and also went back to one of his first true loves — theatre. He got involved with a fairly new theatre group, at the time, Sunriver Stars Community Theater.

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Ron recalls going to his first audition for Stars in 2012. That’s where he met the matriarch and diva of the Sunriver Stars, Victoria Kristy. Ron was cast as Jonathan, in the upcoming show of Arsenic and Old Lace. That audition and meeting formed a bond between the two that continues today. “Without Victoria, there would be no Sunriver Stars,” Ron says. “Southern Deschutes County is a wonderful place to live, and because of Victoria and the Stars, it’s even better.”

Since then, Ron has performed onstage in several plays. Ron misses being onstage, and hopes to get back at it, when theatre returns. He has so many amazing experiences with plays, it’s difficult to say just which his favorites are.

“I know it will sound like a cliché, but my fondest memories are the friendships I’ve formed,” Ron explained. “More like family, actually.”

Ron has also directed three plays for Stars. He has found directing to be a lot more work than he anticipated — and he loves the challenge. Watching actors grow from the first night of rehearsal, to the final curtain, is an amazing experience. Especially for new actors. “When I see one of them “get the bug for the first time, and glow with delight,” it just doesn’t get any better than that,” Ron describes.

He also served as vice president of the Board of Directors for about three years. Ron hopes to continue both onstage, and off, in the future.

In his spare time, Ron now enjoys going to church at The DOOR, spending time at home with his two little dogs, whitewater rafting, snowmobiling, serving as the neighborhood litter patrol guy, being Santa at the Sunriver ACE Camp Abbot Hardware store each Christmas season and hanging out with his close friends at The Mountain Jug. He also recently started helping a local band. They all met at the Mt. Jug (hence, they call themselves, The JUGULARS). Last summer was their first time performing in public. It went very well and they are anxious to get back at it this spring/summer. (For bookings, call 541-480-7483) When asked which of his life experiences was his favorite — his career as a federal agent, his private investigator business, theatre, managing a band, Santa or retirement — Ron answers, “Ho ho ho!” sunriverstars.org

M o u n ta i n f i l m o n T o u r

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ntroducing a new experience featuring two weekends of spectacular films from the comfort of home!

Check out Mountainfilm’s inspiring program from wherever you are, at a time that works best for you! This year, they’re offering two great programs for you to enjoy. Each program will be available for a three-day window, and each features different films. This new format makes it possible for a larger audience to attend an event that usually sells out.

Check out the films and more information about the virtual format at envirocenter.org/tec-events/mountainfilm-on-tour.

First Show: February 26-March 1 Second Show: March 5-March 8, 2021 Additional perks include: • Ability to pause and resume the show as needed (another beverage, more popcorn...) Plus, no lines for the bathroom during intermission.

Photo | Courtesy of The Environmental Center

• A raffle! We’re putting together prize packages from the best shops across Central Oregon. Stay tuned; we’ll announce when the online raffle goes live.

Your ticket to the show supports their mission to advance a sustainable future. envirocenter.org Oregon’s Only Arts Magazine Since 1995 | February 2021

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T h e M t. B ac h e l o r M u r d e r s

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Third Northwest Murder Mystery s e t i n B e n d by T e d H ay n e s

he Robleda Company announces the publication of an exciting new murder mystery, The Mt. Bachelor Murders – A Northwest Murder Mystery, by Ted Haynes.

For anyone who loves mysteries and the Pacific Northwest, this is a great story — reaching back to Bend’s Norwegian heritage and the early days of the Mt. Bachelor Ski Resort. The murder of Erik Peterson on the slopes in 1966 launches 16-year-old Sally Paulsen into aiding sheriff ’s detective Forest Connor in finding the elusive killer. The murder leads Sally into a lifetime commitment to seek justice through the law. Over 50 years later, halfway into retirement after a successful career, a friend discovers Erik’s likely murderer, now a wealthy industrialist, and Sally, now called Sarah, puts her own life in danger to have him arrested before he can leave the United States.

Sarah enlists the victim’s grandson, Dan Martinez, to uncover the killer’s motive, hidden in Norwegian archives, while Dan is already coping with the aftermath of an attempted mass shooting that his wife narrowly prevented. The murder and the mass shooting turn out to be related in a surprising way.

The story introduces us to Deschutes County sheriff ’s detectives from two different eras, a Scandinavian seductress, an unprincipled lumber jack, a bitter gang member, a floozy turned Mormon rancher, a crusty museum director and a villain who appears to be a model citizen.

The characters themselves tell the story: Sarah Chatham, the heroine who drives the investigations; Sheriff ’s Detectives Forest Connor who hates snow and Carl Breuninger who loves snowmobiling; Leon Martinez, the art teacher who recognizes the murderer from a 50-year-old drawing; Dan Martinez, a popular attorney who practices very little law; Amy Martinez, Dan’s beautiful wife, on leave from her scientific career to care for their new daughter; and two killers with radically different motivations. Even Erik Peterson, murder victim, has his say.

“Central Oregon is a great place to set mystery stories,” says the author. “The scenery is world-class, the people come from all sorts of backgrounds, and the history of the area has moved rapidly from wilderness to remote lumber town to booming recreational destination. The real-world murder rate is low but the rate of imaginary murders is accelerating.”

The Mt. Bachelor Murders is the third in the Northwest Murder Mysteries series. The first two books in the series, Suspects, centered in the Sunriver Area, and The Mirror Pond Murders, set in Bend, received enthusiastic receptions from readers, bookstores and libraries. A fourth book set in Central Oregon, Pole, Pedal, Murder, is in the works.

Ted Haynes is an accomplished author of both history and fiction focusing on Central Oregon. Ted and his wife first visited Bend in 1975 and finally built a log house on the Little Deschutes River in 2007. Ted is a member of Mystery Writers of America and a founding board member of the Waterston Prize for Desert Writing, located in Bend. He is a fisherman, kayaker, and competitive master swimmer. Ted has studied fiction writing with Hillary Jordan, Lynn Stegner, and Nancy Packer. Ted is available for interviews and presentations.

In addition to the Northwest Murder Mystery series, books by Ted Haynes set in Central Oregon include Vandevert – The Hundred Year History of a Central Oregon Ranch (nonfiction written with Grace Vandevert McNellis) and On the Road from Burns—Stories from Central Oregon (short stories).

The Mt. Bachelor Murders will be available in bookstores and in electronic versions on February 2, 2021. The book is distributed to bookstores by Ingram. The price is $14.99 and the ISBN is 978-1-7331544-2-0. tedhaynes.com

Artist Paul Alan Bennett Running a Kickstarter Campaign to Fund his Self-published Book, Pandemic Portraits

by HELEN SCHMIDLING

M

onths into the COVID-19 pandemic, the sight of masked people in shops, a doctor’s office or on the street is not so unusual. But nearly a year ago, the novelty and variety intrigued Sisters artist Paul Alan Bennett, as both curiously awkward and a bit humorous. Paul turned his curiosity into monotype portraits of people wearing their masks.

He has since made more than 100 monotype images of people — mainly, but not all, from around Sisters. He has also self-published a 96-page book called Pandemic Portraits, containing 88 monotypes. Paul is funding it through Kickstarter until February 4.

As a painter and a printmaker, Paul is known for colorful paintings using a “knit 24 February 2021 | www.CascadeAE.com

stitch,” starry night skies and mythology. He’s now limited himself to one color — black — and one format, monotype. He created all of the images on the presses at Studio 6000 in Sisters.

Before the lockdown, Paul spent hours each week driving between Sisters and Bend, where he was active in church, improv, ukulele and theatre. When all of those activities stopped, he did an artistic pivot and began making single prints, called monotypes, of local people wearing their masks. He posted the images on Facebook where they gained positive feedback. His art became more focused than his extracurricular activities.

Paul first reached out to fellow artists, but soon broadened his portrait

l i t e r at u r e

Announcing the Release of

The Last Outlaw

by Award-Winning Author Rick Steber

T

he Last Outlaw is the true story of Tobe Skiens, a 23-year-old Texas buckaroo, who rides into Eastern Oregon in 1906. He soon takes up the outlaw trail, stealing horses and running them across a 2,000-mile swath of desert country. This is a no-man’s land of fractured escarpments, dry lakebeds, nearly impenetrable mountains, hidden passes and vast alkaline deserts; a land that remained wild and outside the fringe of civilization long after the remainder of the country has been settled and gentrified. Tobe sells his stolen horses in Texas, Arizona and New Mexico, and then turns around, steals more horses and drives them north to Oregon. Stealing horses is the most dangerous and exciting of all occupations. It is played for the highest of all possible stakes — a man’s life.

The crimes Tobe is accused of quickly escalate from rustling cattle and horses to kidnapping a young girl and keeping her for more than two years — even fathering a child with her — and finally the killing of an unarmed man in a cold-blooded shootout, followed by a posse giving chase for ten long weeks. Out West here, any of these indiscretions, if a man is caught, will have him dancing at the end of a short rope.

Rick Steber with cover artist KC Snider of Redmond and her cover artwork | Photo courtesy of Rick Steber

Author Rick Steber, considered the voice of High Desert country, has over 40 titles under his belt and more than two million books in print. He has won many national and international awards, five of his books have been optioned for movies and he is the only Oregon author to have been presented with the prestigious Western Writers of America Spur Award — Best Western Novel. He is a keen observer of the evolving American West, and articulates these changes in prose that is boldly descriptive, invigorating and spectacularly creative.

network to include frontline workers in coffee shops, take-out restaurants, bike repair shops, medical offices and galleries. Giving free rein to his imagination, he depicts aspects of his subjects’ personalities, occupations, clothing or their surroundings in ingenious prints.

After obtaining a person’s permission, Paul photographs his subject with his cellphone. There is a video showing how he creates the monotype online (go to kickstarter.com and search Pandemic Portraits).

“Most of the people I interviewed described how their lives changed during the pandemic,” Paul said, so text and portraits are a microcosm of a small community and how it’s been affected by the pandemic.

Pandemic Portraits is not intended to minimize the severity of the novel coronavirus, or its effects on

Pandemic Portraits is a 96-page book including 88 monotype portraits of people wearing their COVID-19 masks

ricksteber.com

individuals and society as a whole. “We hear tragic stories every day, so this is a different take, from an artistic point of view. I hope there’s some optimism in these images,” Paul said. “While this book is quite specific to Sisters, it’s quite universal, because this is happening in every community around the world.”

Many of the original monotypes will be displayed through February at Bedouin (143 E Hood Ave.) and at Sisters Gallery and Frame Shop, (252 W Hood Ave.).

The monotypes will be for sale, with the entire purchase price going toward funding the book. kickstarter.com/projects/nightskies/pandemic portraits?ref= discovery&term=pandemic%20portraits Oregon’s Only Arts Magazine Since 1995 | February 2021 25

l i t e r at u r e

Weathering Time

by Nancy Floyd

N

ancy Floyd has been photographing herself since 1982, with the aim of taking a photo a day. The resulting project, comprised of over 2,500 images, is a meditation on the passage of time, loss and the aging female body. Weathering Time is the winner of the inaugural ICP / GOST First Photo Book Award.

The uniform black and white self-portraits in this project record Floyd’s body from head to toe, as well as her environment and sometimes family and friends. If she fails to take a picture, she advances the film in her camera, so a blank image is recorded, creating a visual calendar. For the first 36 years, Floyd used a film camera, and last year she began to shoot with digital. In the book, over 1,200 images are presented in grid format. They are grouped into categories such as Mom, Dad, Shirts with Words, Good Hair, Pets (all) and Evolution of the Typewriter — charting both the constants and the changes in fashion, technology, society and culture as well as the people in Floyd’s life.

‘It’s not just the body that changes: fashions and hairstyles evolve, pets come and go, typewriters, analog clocks and telephones with cords disappear and finally, film gives way to digital and the computer replaces the darkroom,” said Floyd, a professional artist currently living in Bend. “While Weathering Time is a personal archive, and I am mining the archive to address issues of the female body, the family snapshot and loss, I am also interested in producing images that suggest some of the experiences of my generation. Indeed, the photographs underscore the cultural, technological and physical changes that have occurred over the past 38 years — from my youth to the dawn of my old age.”

The ICP / GOST First Photo Book Award aims to promote and support the work of previously unpublished photographers and artists through the production of a first photo book by the ICP / GOST imprint. The inaugural Award attracted nearly 300 entrants from 45 countries.

Pets 1983-2019

Nancy Floyd (born 1956) was raised in Texas. She holds a bachelor of fine arts from the University of Texas at Austin, a masters in arts from Columbia College Chicago, and a master of fine arts from the California Institute of the Arts. She has been an exhibiting artist for over 35 years and is Professor Emerita in the Ernest G. Welch School of Art and Design at Georgia State University in Atlanta. The series Weathering Time has been exhibited at Blue Sky Gallery, Portland, Oregon, CUE Art Foundation, New York, New York; Whitespace, Atlanta, Georgia and Flux Projects, Atlanta, Georgia. Her work has been included in exhibitions at Museum of Contemporary Art of Georgia, Atlanta; Thyssen-Bornemisza Museum, Madrid, Spain; the Atlanta Contemporary Art Center and the California Museum of Photography, Riverside, California amongst others, and is held in the collections of the Center for Creative Photography, High Museum of Art and Lightwork.

She was the recipient of a 2018 Aaron Siskind Photography Fellowship, a 2016 CUE Art Foundation Fellowship, a 2015 Society for Photographic Education Future Focus Project Support Grant and a 2014 John Gutmann Photography Fellowship Award.

1984/2013/2020

nancyfloyd.com

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February 2021 | www.CascadeAE.com

Great Things Are Happening at Artists’ Gallery Sunriver Village

s u n r i v e r

by DENI PORTER

W

Pie

ce

by Pe

inter is grinding along, and we are all looking for entertainment that does not require a big effort! Well, there are all types of action at the Sunriver Artists’ Gallery in the Sunriver Village.

Although we have wished the best on future projects to some of our most beloved and popular artists, we are excited to say hello to new artists. We have added three artists to the Gallery since the New Year, and they are more than worth coming l sse to the Gallery to check out. Cheryl Chapman, ou R r glass enamel artist, produces paintings on glass! te She literally must paint them backwards on the wrong side of the glass. Andries Fourie, mixed media artist, utilizes elements of painting, sculpture, and printmaking in his work. Travis Cope creates unique woodcraft that often have a useful purpose. The art of each of these three new members of the Gallery is unlike any existing art pieces at the Gallery.

In addition to new artists and ever-changing art by existing artists, the Gallery is featuring two of its most popular and successful artists.

You will be delighted with new work by Sylvia Alvenius-Ford, painter of whimsical and lighthearted pieces that provide multiple levels of enjoyment for the viewer. Initially attracted to the pieces because of the artist’s use of intense and saturated colors, the viewer moves closer to appreciate the texture of the pieces. Each image is an intricate presentation of movement and light created using some very non-traditional methods (like kitty litter). Further examination unveils the story behind the images. Alvenius-Ford’s many years living in Africa and South America fuel

the artist’s imagination. Her goal is to make the viewer happy.

Also featured is potter Peter Roussel. At the Gallery, he is lovingly referred to as Peter the Potter. His light-hearted personality is reflected in each of his pieces. His use of alternative firing techniques to finish his large decorative pieces allows each piece to become a blank canvas for a range of dazzling colors and textures. Some pieces are fired multiple times. Some are fired with foil wrapped around them. His glazing processes include nothing traditional. The artist prefers raku, pit, sagger, and smoke firing. Says Peter the Potter, “When each piece is cooled and the foil is removed, the true serendipity of playing with nature is revealed.”

Artists’ Gallery Sunriver Village • Building 19 artistsgallerysunriver.com • 541-593-4382

Piece by Sylvia A. Ford

sunriver EXHIBITS

Artists’ Gallery Sunriver Village 57100 Beaver Dr., Bldg. 19 541-593-4382 • artistsgallerysunriver.com Artists’ Gallery Sunriver Village presents Pet Portrait Painting by Deni Porter.

Watercolor artist Deni Porter has been producing beautiful and reasonably priced pet portraits at the Artists’ Gallery Sunriver for years.

Pet lovers all over the country enjoy her artful renditions of some of the most beloved pets anywhere. In the afternoons of Friday, February 5 and Saturday, February 6 from 2-6pm, Porter will be providing demonstrations of pet portrait painting at the Gallery. If you already have one of her paintings stop by to say hello. If you are considering a portrait, stop by and see what can be provided. Covid restrictions will be strictly observed.

In support of state and federal guidelines for social distancing, most venues have attendance protocols in place. Please call or visit each venue website for updated information.

ART IS THE VOICE OF THE HEART showcasing the work of 30 local artists

Pet Portraits by Deni Porter

Sylvia Avenius Ford, painting

Peter Roussel, Alternative Pottery

V i l l ag e at S u n r i v e r , B u i l d i n g 1 9 | 5 4 1 . 5 9 3. 43 8 2 w w w. a r t i s t s g a l l e rys u n r i v e r .c o m H o u r s : 1 0a m - 5 p m Da i ly

Oregon’s Only Arts Magazine Since 1995 | February 2021

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sisters EXHIBITS

In support of state and federal guidelines for social distancing, most venues have attendance protocols in place. Please call or visit each venue website for updated information.

Hood Avenue Art hoodavenueart.com • info@hoodavenueart.com • 541-719-1800 Hood Avenue Art is open! Winter hours are Thursday-Monday 11am-4pm.

Photo courtesy of Hood Avenue Art

Featuring Our Jewelry Artists 541.719.1800 | 357 W Hood Ave. Sisters | hoodavenueart.com

Stitchin’ Post Gallery 541-549-6061 • stitchinpost.com Come Feed Your Passion — open Monday-Thursday 10am4pm, Friday-Saturday, 10am-5pm and Sunday 11am-4pm.

You can also check out our online items such as books and patterns, fabrics, gifts and kits, mixed media and more — orders can be picked up at the store as well. And thank you for your support during this difficult time.

Image by Mark Martins from Pixabay

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February 2021 | www.CascadeAE.com

Sisters Folk Festival Announces 2021 My Own Two Hands Annual Fundraiser Theme

T

s i s t e r s

he virtual My Own Two Hands (MOTH) fundraiser art auction is scheduled for May 10-15. Sisters Folk Festival (SFF) staff and board are thrilled to announce this year’s theme, encouraging all of us by “Holding Hope” for better days ahead and a closer connection to community in our near future. SFF humbly invites artists to consider contributing artwork to help support SFF’s arts programming and mission in the community.

“The past year has been immensely challenging for everyone in our community and beyond. The COVID-19 global pandemic has shuttered businesses, created difficulties in connecting with family and friends and cut us off from some of the things we hold dear as a community. We are “Holding Hope” that we can continue to support one another, bring folks together and share our profound value of artistic expression and creativity,” says Creative Director Brad Tisdel.

SFF is much more than just a music festival. The educational outreach in the Sisters School District includes 20 years of music and arts education through the Americana Project, 12 years of building handmade guitars and ukuleles in the high school’s luthier program, visual arts support and a completed 5-year Studio to School Grant for arts programming grades K-8. In addition to the Americana Project and luthier program, SFF’s partnership with the Sisters Schools has guaranteed that every child in the district has equitable access to visual arts education grades K-6, and multidisciplinary art classes as an elective Photos | Courtesy of Sisters Folk Festival class in both the middle and high school for all students. SFF has also hosted creativity camps and summer concerts, virtual classes and workshops and the virtual Song Academy for Youth over just the past several months.

Artists who wish to donate need to ensure delivery of their completed pieces to SFF no later than March 25: • Hand deliver to the Sisters Folk Festival office Monday-Thursday, 10am-4 pm; 204 W. Adams Ave., Suite 101, Sisters • Send via U.S. Postal Service to Sisters Folk Festival, PO Box 3500, PMB 304, Sisters, OR 97759 • Ship via UPS or FedEx using the physical address above • Contact Kate Kittell to coordinate a local pick-up (Sisters, Bend, Redmond) at kate@sistersfolkfestival.org or 541-588-7064 The SFF MOTH committee will be selecting one piece they believe best represents this year’s MOTH theme, “Holding Hope,” for the promotional artwork.

This selected piece will be used in virtual and print marketing to promote all the happenings of My Own Two Hands. To be considered, artists must submit their artwork no later than March 15.

A few details for visual artists to consider and calendar are: • March 15 — Promotional artwork consideration deadline • March 25 — Last day to submit artwork to SFF to allow time to jury pieces for award selection, professionally photograph the art and prepare the online artwork spotlights on SFF’s website and social media feeds, the MOTH auction site and email campaigns.

• May 10-15 — Virtual My Own Two Hands art auction!

Sisters Folk Festival works to promote artists, their work and the community of Sisters as an arts destination, encouraging the economic vitality that comes with a creative culture. Please consider participating in the 2021 My Own Two Hands “Holding Hope” virtual art auction. sistersfolkfestival.org

Oregon’s Only Arts Magazine Since 1995 | February 2021

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central oregon EXHIBITS

In support of state and federal guidelines for social distancing, most venues have attendance protocols in place. Please call or visit each venue website for updated information.

Madras / Warm Springs

The Museum at Warm Springs 2189 U.S. 26 • 541-553-3331 • museumatwarmsprings.org Visitors to The Museum at Warm Springs will experience firsthand the sounds of ancient songs and languages, the mastery of traditional craftsmen and the sights of rich and colorful cultures that make up the Confederated Tribes of The Warm Springs Reservation of Oregon. For the first time, their histories and traditions are told in an exciting, permanent, interactive exhibit, bringing to life the fascinating story of the Tribes.

The collections of the museum are rotated throughout the year. So, when you visit you may see an entire new display in the gallery.

The dream of a tribal collection for the Confederated Tribes of Warm Springs Reservation of Oregon began over four decades ago. Museum is open to the public with Safety Standards in place, which can be found on their website.

Prineville

Rick Steber & Company — MAKERS 131 NE Fifth St., Prineville • 813-749-7143 • rickstebermakers.com On display in the retail showroom at Rick Steber – MAKERS is the incredible work of over one hundred artists and artisans from Central and Eastern Oregon.

Designated as an Oregon Scenic Attraction, this unique collection of one-of-a-kind items has become a destination for many, and an opportunity to introduce your family to the creative culture of the High Desert. Here you will find Native bead work, metal sculptures, leather tooling, saddle making, wood working, silversmithing, original artwork, whittlings, carvings and the complete collection of books by popular author, Rick Steber. Open Tuesday-Saturday from 10am to 5pm.

Come Experience the Energy of Nature!

Geothermally Heated Cabins Hot Mineral Baths 541-943-3931

2 Hours SE of Bend • www.summerlakehotsprings.com 2 Hours SE of Bend • 541-943-3931 • www.summerlakehotprings.com

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February 2021 | www.CascadeAE.com

Steelhead Falls, oil, framed size: 30 x 36, by Randall Tillery

Rimrock Gallery 405A NW Third St., Prineville 541-903-5565 • rimrockgallery.com SUMMER IN THE MIDDLE OF WINTER, thru March 10 Many of us are ready for winter to be over, so we are hosting our Summer In The Middle Of Winter show, featuring works of summer theme by our gallery artists. Come and get a lift in spirit and talent by our 26 gallery artists. Due to COVID-19, we are still unable to have artist receptions.

You can visit the show here at the gallery at your leisure. Works can also be viewed on the website. We offer ‘art on approval’ and home deliveries.

Be sure to visit the gallery website at rimrockgallery.com to view artist’s works and read gallery news! Off-street parking available.

Open Tuesday-Saturday 10am-5:30pm and Sunday 12-5:30pm.

Closed Mondays.

c e n t r a l

o r e g o n

Redmond/Terrebonne LTA Gallery 611 NE Jackpine Ct., Ste. 3, Redmond 541-316-0362 • darrenklingart.net Showcasing the artwork of Darren Kling with continued exhibition, Water and the Rock.

School House Produce 1430 SW Highland Ave. 541-504-7112 • schoolhouseproduce.com Schoolhouse Produce is showing the work of SageBrushers Art Society member Gillian Burton. Painting from her imagination, using acrylic, ink and watercolor, Gillian brings a lifetime of memories alive. Stop in to shop and enjoy this creative output. Showing thru February.

Sundance, watercolor painting by Gillian Burton

outside central oregon EXHIBITS

Burns Oard’s Gallery 42456 Hwy. 20 East, Burns • 541- 493-2535 • oardsgallery.com Exhibiting many one-of-a-kind items, including original, handmade arts and crafts from nine tribes around the area — baskets, beaded art, clothing, furniture, native art, paintings, rugs, jewelry and more.

calendar

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this month's picks

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CALL TO ART My Own Two Hands Call to Art The virtual My Own Two Hands (MOTH) fundraiser art auction is scheduled for May 10-15. Sisters Folk Festival (SFF) staff and board are thrilled to announce this year’s theme, encouraging all of us by “Holding Hope” for better days ahead and a closer connection to community in our near future. SFF humbly invites artists to consider contributing artwork to help support SFF’s arts programming and mission in the community.

Artists who wish to donate need to ensure delivery of their completed pieces to SFF no later than March 25: • Hand deliver to the Sisters Folk Festival office MondayThursday, 10am-4 pm; 204 W. Adams Ave., Suite 101, Sisters • Send via U.S. Postal Service to Sisters Folk Festival, PO Box 3500, PMB 304, Sisters, OR 97759 • Ship via UPS or FedEx using the physical address above • Contact Kate Kittell to coordinate a local pick-up (Sisters, Bend, Redmond) at kate@sistersfolkfestival.org or 541-588-7064 The SFF MOTH committee will be selecting one piece they believe best represents this year’s MOTH theme, “Holding Hope,” for the promotional artwork. This selected piece will be used in virtual and print marketing to promote all the happenings of My Own Two Hands. To be considered, artists must submit their artwork no later than March 15.

A few details for visual artists to consider and calendar are: • March 15 — Promotional artwork consideration deadline • March 25 — Last day to submit artwork to SFF to allow time to jury pieces for award selection, professionally photograph the art and prepare the online artwork spotlights on SFF’s website and social media feeds, the MOTH auction site and email campaigns.

• May 10-15 — Virtual My Own Two Hands art auction!

WORKSHOPS CASCADE FINE ART WORKSHOPS Pre-Register Now for 2021 Workshops!

As the pandemic unfolds, Cascade Fine Art Workshops is working with our instructors to offer face-to-face, online and ‘hybrid’ workshops in 2021 — part face-to-face, the other part live via Zoom. We are currently constructing these workshops, but are happy to offer you a place in them by pre-registering, at no obligation to you.

Contact Sue Manley, Owner, Cascade Fine Art Workshops at info@cascadefineartworkshops.com to pre-register.

Zoom, Live from Bulgaria!! with Stella Canfield Watercolor March 8-11, 2021 Painting the Figure from Photographs with Ted Nuttall Watercolor Portraits July 12-16, 2021 Impressionism in Action with Colley Whisson Plein Air & Studio Workshop Oil & acrylic artists welcome — Demos in oil October 13-16, 2021 Abstracting the Landscape in Acrylic with Sarah B. Hansen Abstracting the landscape October 18-20, 2021 SAGEBRUSHERS ART SOCIETY sagebrushersartofbend.com • 541-617-0900 Color as Value Online with David Kinker Monday mornings, February 1, 8, 15 and 22 9:30-10:30am Improve your creative outcomes by learning to approach painting as a process. All mediums are welcome. Lecture and acrylic painting demonstration. $15/class. For more information and link to join the class, visit kinker.com/kinker-studios-digital-classes.

New Perspective for February

O

by EILEEN LOCK

pen your heart on the 1st and challenge yourself to view your situation in a new way. Conversations about the past could lead to decisions on the 5th. Realize healing is happening over the next few days and you are moving towards something new. Be sure to listen to yourself on the 8th because you have something really good to say. More decisions on the 9th feel easy until it’s time to take action. Give yourself an optimistic pep talk and continue moving forward.

The New Moon on the 11th will feel like a breath of fresh air filled with opportunities. Listen to your heart on the 12th and take steps towards happiness.

Opportunities on the 14th could ask for a significant change of direction. Take responsibility for what you want on the 17th and make the necessary changes.

An awkward feeling on the 19th could simply be because you are doing something new. Conversations become easier after the 20th and you will realize you are doing the right thing.

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Be brave and step up on the 24th and let your truth be seen. A strong increase in love energy on the 25th stirs many relationships in a good way. The Full Moon on the 27th is a perfect time for a romantic gesture. Be as receptive as possible and welcome a positive change in your life.

Love and Light Always, Eileen Lock Clairvoyant Astrologer / Spiritual Medium 1471 NW Newport Ave., Bend, Oregon 97703 541-389-1159 eileenlock.freeservers.com • oneheartministry.freeservers.com Listen for the song in your heart, find the melody and dance to the music.

Check out Eileen’s radio programs online at blogtalkradio.com. Cosmic Lunch Break on Mondays at 8am, What’s Up Wednesday at 8am and Talking With Spirit on Fridays at 8am.